An early admirer and critic of Howarth's poetry indicated that he had commenced writing verse at the age of seven. He had apparently continued in this avocation, for in his first year at Fort Street he was awarded the prize of one guinea, donated by the headmaster, for the best School song. There have been few Australian academics who have made notable contributions to more than one or two aspects of their discipline; Robert Guy Howarth was one of these. R G Howarth was first identified as a talented young poet by the distinguished Australian critic and teacher Dr George Mackaness, who studied the teaching of English at Fort Street (Sydney) High School early last century. While another student, A D Hope, also became an influential professor of English and a noted satirist, Howarth worked mainly in the love lyric, but also in the aphoristic, epigrammatic, and satiric modes of occasional verse. Hope's model was Alexander Pope, Howarth's was Lord Rochester; both were influenced by the Augustan aesthetic, and both influenced the direction of Australian poetry at mid-century. In addition to his verse, Howarth produced a significant body of literary criticism through numerous contributions to journals; through his long-term editing of Southerly and guiding of the English Association (Sydney Branch), he influenced both the direction of scholarship and the development of standards of criticism in Australia. In his seventeen years as Arderne Professor of English Literature in the University of Cape Town his influence on English studies in South Africa was commensurate with his influence in Sydney. Throughout his academic life Guy Howarth was an indefatigable correspondent, maintaining contact with writers, academics, and personal friends worldwide, as his archives in the library of the University of Texas show. In recognition of his contribution to the world of letters, he was made a Fellow of the Royal Society of Literature.

This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent. Guest editors Ton Hoenselaars and Clara Calvo have constructed this section to highlight both how the spread of 'Shakespeare' throughout Europe has brought together the energies of a wide variety of European cultures across several centuries, and how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Spain, Switzerland and South Africa, Canada, The Netherlands, India, Portugal, Greece, France, and Hungary. In addition to the section on European Shakespeares, this volume includes essays on the genre of romance, issues of character, and other topics.

Includes involvement with Aborigines Progressive Association and with Xavier Herbert (publication of Capricornia) brief mention of Jindyworobak Poetry Movement and the Aust. Aborigines Conference celebrating the Sesquicentenary (1938) with a Day of Mourning and Protest.

Australian Books and Authors in the American Marketplace 1840s–1940s explores how Australian writers and their works were present in the United States before the mid twentieth century to a much greater degree than previously acknowledged. Drawing on fresh archival research and combining the approaches of literary criticism, print culture studies and book history, David Carter and Roger Osborne demonstrate that Australian writing was transnational long before the contemporary period. In mapping Australian literature’s connections to British and US markets, their research challenges established understandings of national, imperial and world literatures. Carter and Osborne examine how Australian authors, editors and publishers engaged productively with their American counterparts, and how American readers and reviewers responded to Australian works. They consider the role played by British publishers and agents in taking Australian writing to America, and how the international circulation of new literary genres created new opportunities for novelists to move between markets. Some of these writers, such as Christina Stead and Patrick White, remain household names; others who once enjoyed international fame, such as Dale Collins and Alice Grant Rosman, have been largely forgotten. The story of their books in America reveals how culture, commerce and copyright law interacted to create both opportunities and obstacles for Australian writers.